The aim of this study is to determine how literature teaching in a multicultural context can be used effectively to promote intercultural communication and understanding in South Africa, a relatively young democracy in a period of transition. A selection of short stories from the chosen short story anthologies, Taxi (1996) and Keerpunt(1995), will be analysed with reference to both key elements from theories about intercultural communication and the criteria for multicultural texts. The study will be concluded by a statement about the suitability of the chosen anthologies to promote intercultural communication and understanding through the teaching of literature within a multicultural context. Die doel van hierdie studie is om ondersoek in te stel na hoe literatuuronderrig in 'n multikulturele konteks effektief gebruik kan word om interkulturele kommunikasie en begrip te bevorder veral noudat Suid Afrika ' n relatief nuwe demokrasie in 'n oorgangsperiode is. Hierdie doel word nagestreef deur geselekteerde kortverhale uit die gekose kortverhaalbundels, Taxi (1996) en Keerpunf (1995), te analiseer met verwysing na kernelemente vanuit die teorievorming oor interkulturele kommunikasie asook die kriteria vir 'n multikulturele teks. Aan die einde van hierdie studie word aangedui of die gekose kortverhaalbundels geskikte tekste is om interkulturele kommunikasie en begrip in 'n multikulturele konteks te bevorder deur literatuuronderrig. / Thesis (M.A.)-University of Natal, Durban, 2001.

Thesis (MA)-- Stellenbosch University, 2013. / ENGLISH ABSTRACT: This thesis re-evaluates the writing of seminal Afrikaans modernist Etienne Leroux from a South African English perspective. The present author's new translation of Leroux's prizewinning novel Sewe Dae by die Silbersteins (1962) is the focal point of an enquiry into how “rewriting”, in translation theorist André Lefevere's coinage, has shaped the reception of Leroux's work outside the Afrikaans literary system. It is shown from a literary-historiographical viewpoint that translation played a crucial role in Leroux's rise to international prominence and subsequent eclipse. It is demonstrated that Leroux's standing within the English literary system rests predominantly on extant translations of his novels, without taking into account the cyclical quality of his fiction, especially the overarching nine-novel cycle – the basis of Leroux's renown in Afrikaans. The distortions produced by this fact are critiqued. In particular, the received idea of Leroux as an apolitical obscurantist is challenged, the work of J.C. Kannemeyer especially showing that Leroux's politics and art were much more integral and radical than previously (mis)understood. A case is made for Leroux's re-evaluation as a seminal contributor to modern South African fiction comparable to J.M. Coetzee, and for the production of fresh translations of his work to facilitate this re-evaluation. A detailed account of the translation process behind the present author's new translation of Sewe Dae by die Silbersteins follows. A series of close readings compares this new translation to the first translation by Charles Eglington (1964), shows how Eglington's translation obscured certain textual strategies vital to a full comprehension of Leroux's text, examines the difficulties inherent in restoring them, and argues for the new translation's success therein. A mise au point in which insights yielded by this process feed back into an assessment of Leroux's relevance today concludes the thesis. Leroux's technique is shown to have immunised his texts against the desuetude into which time-bound “committed” literature often falls. In particular, Sewe Dae by die Silbersteins, or its new translation, emerges as a satirical anatomisation of subjectivity under late modern capitalism entirely in tune with contemporary cultural representations of apartheid as metaphor for global capitalism. / AFRIKAANSE OPSOMMING: In hierdie tesis word die skryfwerk van die hoog-aangeskrewe Afrikaanse modernis Etienne Leroux vanuit 'n Suid-Afrikaans-Engelse oogpunt in heraanskouing geneem. Die kandidaat se nuwe vertaling van Leroux se beroemde roman, Sewe dae by die Silbersteins (1962 ), word as uitgangpunt gebruik vir vrae oor hoe Leroux se werk “herskryf” is deur kritici en vertalers. In verband hiermee word die vertaal-teoris André Lefevere se werk gebruik om die ontvangs van Leroux se werk buite die Afrikaanse literêre-sisteem in oënskou te neem. Uit n literêr-historiografiese standpunt word bewys dat vertaling 'n sleutel-rol in Leroux se internasionale beroemdheid en sy daaropvolgende verdwyning gespeel het. Leroux se status binne die Engelse literêre-stelsel berus tans hoofsaaklik op bestaande vertalings van sy romans, wat beperk in omvang en gehalte is. Leroux se “Engelse” reputasie neem as gevolg hiervan glad nie die sikliese eienskappe van sy fiksie in ag nie, bowenal sy oorkoepelende siklus van nege romans, wat die grondslag van Leroux se roem in Afrikaans vorm. Verskeie misvattings wat uit hierdie toestand voortspruit – veral die gedagte dat Leroux se skryfwerk apolities en “duister” is – word bevraagteken. Vernaamlik die werk van J. C. Kannemeyer wys daarop dat Leroux se kuns baie meer integraal en radikaal is as wat dit blyk binne die wanvoorstelling daarvan in Suid-Afrikaanse kritiek in Engels. ‘n Pleidooi word gemaak vir ‘n herwaardering van Leroux as 'n sentrale figuur in moderne Suid-Afrikaanse fiksie, vergelykbaar selfs met J.M. Coetzee. Verder word gepleit vir die behoefte aan nuwe vertalings van Leroux se werk, om sodoende 'n deeglike herwaardering moontlik te maak. Daarna volg 'n bespreking van die vertalingsproses van die kandidaat se nuwe vertaling van Sewe dae by die Silbersteins. 'n Reeks noukeurige beskouings wat die nuwe vertaling met die bestaande vertaling (Charles Eglington, 1964) vergelyk, wys daarop dat Eglington se vertaling kerneienskappe van Leroux se teks effektief verdoesel. Hierdie eienskappe, word aangevoer, is noodsaaklik vir 'n deeglike begrip van Leroux se teks. Die kandidaat bied ‘n wye analise oor hierdie eienskappe aan en voer ook aan dat sy nuwe vertaling die wese van Leroux se roman in ere herstel. Die tesis sluit af met 'n mise au point waarin die insigte wat bereik is deur die vertalingsproses voorgestel word as stof tot nadenke oor Leroux se belangrikheid in vandag se leefwêreld. Daar word vervolgens ook bewys dat Leroux se werk bestand is teen die onbruik waarin tydgebonde littérature engagée dikwels verval. Veral Sewe dae by die Silbersteins, en die nuwe vertaling wat hier aangebied word, bied 'n satiriese beskouing van subjektiwiteit onder apartheid-kapitalisme wat strook met huidige voorstellings van apartheid as metafoor vir globale kapitalisme.

M.Ed. (Multiculturalism and Education) / The teaching of Afrikaans faces a variety of problems and challenges in a changing society. It is also evident that in future the teaching of Afrikaans will run parallel with marketing as a dynamic communication medium among the inhabitants of South Afrika (Botha, 1990:85). The above implies that Afrikaans as a language will still be taught as one of the official languages of South Africa. This also coincides with Strydom's remarks (Botha, 1990:85/86) that a new look of Afrikaans needs to be considered with regard to the unfolding of the multicultural reality of South Africa to all those learning the language. Emphasis, in the aim of teaching Afrikaans, rests in its functional use in societal context. Thus it has become inevitable that teachers who teach Afrikaans especially in black high schools require sufficient training. The importance of a well trained teacher for literature teaching cannot be disputed. Kuhn (1989:84), referring to the literature teacher, said "Die onderwyser se benadering in die vak bepaal die kwaliteit van interaksie tussen die teks en die leser grotendeels". In other words the teacher's role is vital in the teaching of literature. The teaching of Afrikaans literature in black high schools involves a considerable host of issues, namely stereotypes, negative attitudes and underqualified teachers. Students in literature classes appear not to understand Afrikaans literature. They are passive which means that literature teaching is dominated by teacher talk. The teacher goes to the extent of over explaining, trying to cover the syllabus. At the...

AFRIKAANS : Die doel van die navorsing was om vas te stel watter metodes Marlene van Niekerk in haar roman Agaat gebruik om die karakters en hulle omstandighede deur middel van verwysings na musiek te teken. Die verhandeling begin met ’n oorsig oor die interdissiplinêre studiegebied van verwysing na musiek in die letterkunde. Op hierdie terrein het onder andere Fuller, Losseff, Scher en Weliver belangrike rolle gespeel. Die wyse waarop uitsprake van onder andere Bakhtin, Barthes, Blanchot, Eco, Kristeva en Van Wyk Louw op die gebied van verwysing, en dus op Van Niekerk se Agaat, van toepassing gemaak kan word, is ondersoek. Deur ’n onderhoud met Van Niekerk is daar meer oor haar houding oor musiek en verwysings daarna in Agaat uitgevind. Sy voel sterk dat die gebeure en musiekverwysings in Agaat nie op haar as persoon van toepassing gemaak moet word nie. Tog is daar baie van die musiek waarna verwys word wat vir haar ook baie betekenisvol is. Sy luister baie na musiek en gebruik dit as ’n stimuleringsmiddel, maar ook om haar in toom te hou sodat sy nie te “maklik” skryf nie. Van Niekerk beskik oor ’n goeie kennis van musiek en van die repertorium en kan dus ’n wye verskeidenheid verwysings maak na musiekterminologie, musiekinstrumente, musiekmaak, Suid-Afrikaanse kultuur waarin musiek ’n deurslaggewende rol speel, FAK- en Afrikaanse volksliedere, psalms, gesange en hallelujaliedere, ander ligte liedere, en komposisies uit die repertorium van klassieke musiek. Daar word in Agaat ook verskuilde, vertaalde aanhalings van versreëls uit getoonsette gedigte uit die Duitse kunsliedrepertorium ingesluit. In laasgenoemde geval (gedigte getoonset deur Brahms, Mahler, Schubert en Schumann) word die woordteks op ’n komplekse manier geïntegreer. Van Niekerk sluit die woordteks van godsdienstige en volksliedere byna uitsluitlik in om ironiese kommentaar op gebeure te lewer. Dit is selde dat hierdie tekste in hulle gebruiklike omgewing aangewend word. Die intertekstuele integrasie van musiekverwysings in Agaat kan as ’n baie groot prestasie beskou word. ENGLISH : The aim of the research was to establish the methods used by Marlene van Niekerk in her novel Agaat (the Afrikaans version) to paint the characters and their circumstances by means of references to music. The dissertation starts with an overview of the interdisciplinary field of music references in literature. In this area Fuller, Losseff, Scher and Weliver (amongst others) have played a major role. The ways in which pronouncements by (amongst others) Bakhtin, Barthes, Blanchot, Eco, Kristeva and Van Wyk Louw can be applied to the field of references, and therefore to Van Niekerk’s Agaat, were investigated. In an interview with Van Niekerk, her views on music and references to music were clarified. She feels strongly that the events and references to music in Agaat should not be equated to her own life. Nevertheless, much of the music referred to is also significant to Van Niekerk. She listens to music much, using it as a stimulus, but also to keep her in check so that she does not fall into “easy” writing. Van Niekerk possesses a sound knowledge of music and of the repertoire. She can therefore make a variety of references to music terminology, music instruments, music making, South African culture in which music plays a decisive role, Afrikaans folk songs and songs from the FAK song album, psalms and hymns, popular songs, and compositions from the repertoire of classical music. Concealed, translated quotations of lines from German poems set to music as art songs are also included in Agaat. In these cases (poems set to music by Brahms, Mahler, Schubert and Schumann) the word text is incorporated in a complex manner. Van Niekerk includes the word texts of religious and folk songs nearly exclusively in order to comment on events in an ironic way. These texts are seldom presented in their proper circumstances. The intertextual integration of music references in Agaat can be regarded as a great achievement. Copyright / Dissertation (MA)--University of Pretoria, 2009. / Afrikaans / unrestricted

M.Ed. (Subject Didactics) / There is growing concern that high school pupils and especially those pupils in the senior secondary phase, are no longer interested in reading ., Afrikaans books. The result is that the pupils' knowledge and understanding of literature is fast diminishing. A further consequence is that the formative possibilities that literature holds for the pupil are also lost. It can therefore be accepted that literature and the teaching of literature has a substance which contributes to the forming of young people on their way to adulthcod, A paradoxical situation prevails in that the high school pupil and specifically pupils in the senior secondary phase do not realise what formative value literature holds for him. The fact is that prescribed prose and drama hold little significance for the majority of pupils in this phase of their achonl, careers, as it is nei ther relevent nor actual. It is therefore necessary that serious attention be given to the goals we wish to achieve in the teaching of Afrikaans First Language literature. The goals we wish to achieve in the teaching of Afrikaans First Language literature (senior secondary phase) as evaluated in a curriculum rational and compared to the syllabus, results in a discrepancy between the goals (ideals), the syllabus content and the teaching (practical). The reason for this can possibly be attributed to the following factors: the syllabus content does not accommodate sufficiently the formative value of literature the criteria for prescribing prose and drama are too limited too much emphasis is placed on examination the teaching of literature is possibly too closely tied to the text * addressing of modern life situations via literature is not given sufficient recognition. From a didactical-pedagocical approach the nature of the discrepancy between goals, syllabus content and teaching have been analysed. The criteria for prescribing prose and drama have been examined and curriculum rational has been brought into line. A situation analysis as a component of curriculum rational is discussed and attention has been paid to the present situation in respect of Afrikaans First Language...

M.A. / During the latter part of the Eighties, a growing number of Afrikaans writers and musicians rebelled against the monolithic state of "Afrikaner-culture". The dissidents did not want to identify or be identified with the Apartheid government, and they tried alternative ways in which to live out their cultural heritage (Uys in Rathbone, 1989:25). This search for an "alternative" led to the coining of the term "Alternative Afrikaans Movement" (Altematiewe Afrikaanse Beweging) in the media. A part of the Afrikaner-culture had been appropriated by certain institutions that were seen as the "centre" (such as cultural, political and religious institutions). These institutions strove to create a monolithic culture of unity without taking into account that such "unity" may lead to stagnation of the cultural repertoire due to an abhorrence to change. Change is part of the dynamic processes of culture, and any change can be due to external and as internal factors. In the case of the Afrikaner-culture of the eighties external factors such as changes in the world politics, the fall of communism and economic sanctions, influenced the cultural centre. Internal change also played a pivotal role in the dramatic changes that Afrikaner culture underwent during the late eighties and the early nineties. The total control of the centre was rejected by entities such as the Alternative Afrikaans movement on the periphery of the culture. Theperi_phery challenged the centre with lyrics of Alternative Afrikaans Music as well as texts that were deemed "alternative" such as the novel Suidpunt-jazz by Andre Letoit. The centre _proposed an amalgamation of Afrikaner culture and Afrikaner power. The Alternative Afrikaans Movement can be likened to Degenaar's (1982:3) proposal of the morally-critical Afrikaner that wants to separate Afrikaner power and Afrikaner culture. In this study the basic premise is that culture cannot be seen as a static or isolated phenomenon. Vlasselaers (1997:14) describes the concept of culture as a poststructuralist discursive process between a multitude of networks. The complexity inherent to cultural construction has lead me to make use of systems theory in order to best accommodate the complexities. Many academics (such as Segers, Schmidt and Vlasselaers) have examined the phenomena of culture and cultural studies through literary studies "as it is inadequate to study literary texts in isolation from their contexts" (Schmidt, 1997:119). The systems theory operates as an instrument with which one may reconstruct a model of interacting items, i.e. a system. Themes voicing the rebellion of Alternative Afrikaans Movement can be discerned in the texts deemed "alternative". Thematic devices include the reappropriation of institutionalized cultural symbols such as the ox-wagon (ossewa), and the debunking of a canonized history. The Alternative Afrikaans Movement also took cognisance the socio-political milieu of the eighties into their texts in order to voice their dissatisfaction with the "official" silence maintained about the socio-political status quo. Ultimately, this investigation is a study of the workings of a "culture of difference" (Vlasselaers, 1996:17), honin_g an investigative instrument that can be applied to different cultural phenomena, including literature. This study sheds some light on the dynamics of Afrikaner-culture, and also on the invaluable role that diversity plays within a multicultural South African context.

Die doel van die navorsing is om vas te stel of liminale prosesse, drumpeloorgange en transformasie deur die verskuiwing van sosiogeografiese omgewing teweeggebring word. Vir die terreinverkenning van die term liminaliteit word gebruik gemaak van die teorië van antropoloë Arnold van Gennep en Victor Turner en word getoon dat die term liminaliteit al hoe meer vryelik in velde buite die antropologie gebruik word. Die toepasbaarheid van die drie fases (pre-liminaire, liminaire en post-liminaire) van die rites de passage en die heropname in die communitas word met betrekking tot die letterkunde toegelig. Die ondersoek van die konsep liminaliteit word ten opsigte van literêre karakters gedoen aan die hand van die oorsake en dryfvere wat tot liminale prosesse lei, asook die uitwerking van daardie prosesse op die geestelike instelling van die verskillende hoofkarakters in die romans ’n Ander land van Karel Schoeman, Die son kom aan die seekant op van Jeanette Ferreira, Lang skaduwees in Afrika van Connie Luyt en die ongepubliseerde roman Paul Roux van die kandidaat self. Die verskillende elemente (dryfvere, karakterisering, milieus, drumpeloorgange en transformasies) wat tot liminale situasies bydra, word behandel. Daar word tot die gevolgtrekking gekom dat die verskillende elemente dui op die roete wat na die rites de passage toe kan lei. Navorsingsartikels en essays wat die tussenruimtes en oorskryding van grense in verskillende publikasies bespreek, word gebruik om die ondersoek toe te lig. Besprekings van Louise Viljoen (Woordwerk van Breyten Breytenbach), Adéle Nel (Lykdigte en Ruggespraak van Joan Hambidge), Heilna du Plooy (Niggie van Ingrid Winterbach), Dorothea van Zyl (Vaselinetjie van Anoeschka von Meck), Marlies Taljaard (Kleur kom nooit alleen nie van Antjie Krog) is hiervoor aangewend. Daar word ook na ekspat-literatuur soos dié van Laurens van der Post, Breyten Breytenbach en Gérard Rudolf verwys. Dit is ’n vrugbare tegniek om literêre karakters vanuit Van Gennep en Turner se teorieë te ontleed. Soos wat die konsep liminaliteit toenemend gebruik en toegepas word, sal dit ook meer in die literatuur aangewend word, veral in die werk van ekspatskrywers. Wat hierdie bevindings betref, kan ’n mens begin gis oor die Afrikaanse diaspora-letterkunde wat ’n nuwe communitas vir drumpelfigure geskep het. Die gemeenskaplike kreatiewe energie in hierdie liminale sone kan as bewusmaking dien en sodoende verandering teweegbring. ENGLISH : The purpose of the research is to determine whether liminal processes, threshold crossings or transformation can be brought about by the changing of socio-geographical environment. For the exploration of the term liminality the theories of anthropologists Arnold Van Gennep en Victor Turner are used and it is shown that the term is increasingly used in other fields. The applicability of the three phases (preliminaire, liminaire and post-liminaire) of the rites de passage and the reentering of the structural realm, the communitas, is enlightened with the help of literature. The analysis of the concept liminality regarding these literary characters is done by causes and motivations that lead to liminal processes, as well as the effect of those processes on the spiritual/mental inclination of the characters in the novels ’n Ander land by Karel Schoeman, Die son kom aan die seekant op by Jeanette Ferreira, Lang skaduwees in Afrika by Connie Luyt and the candidate’s unpublished novel Paul Roux. Different elements (motivation, characteristics, milieu, thresholds and transformation) that lead to liminal phases, are discussed. It was found that the different elements indicate the route leading to the rites de passage. Applicable essays and articles regarding the liminal phases and transgression of borders in different publications are explored to explain the analysis. Research articles and essays focusing on the phases leading to the rites de passage used for this analysis are those by Louise Viljoen (Woordwerk of Breyten Breytenbach), Adéle Nel (Lykdigte en Ruggespraak of Joan Hambidge), Heilna du Plooy (Niggie by Ingrid Winterbach), Dorothea van Zyl (Vaselinetjie by Anoeschka von Meck) and Marlies Taljaard (Kleur kom nooit alleen nie by Antjie Krog). Reference is also made to the ex-pat literature of Laurens van der Post, Breyten Breytenbach and Gérard Rudolf. Applying Van Gennep and Turner’s theories for the analysis of literary characters is fruitful. As the concept liminality is used and applied increasingly, it will become more relevant in literature, especially in the work of expat writers. Regarding the findings, one can speculate about the ‘diaspora’ literature in Afrikaans that created a new communitas for threshold figures. The communal creative energy in this liminal zone can be effective as to an awakening that can bring about change. / Dissertation (MA)--University of Pretoria, 2010. / Afrikaans / unrestricted

No description available.

Text in Afrikaans / Abstracts in Afrikaans, English and seSotho / Die ikoniese konsep van die spelende mens (homo ludens) - soos verwoord deur Johan Huizinga – verkry opnuut trefkrag weens ʼn hedendaagse bekoring met virtuele spel. Nel (2014; 2015a; 2015b), Burger (2013), Viljoen (2011; 2013), Anker (2011) en Barnes (2014) bevind dat die eietydse fassinasie met ludieke spel uitdrukking vind in die narratiewe struktuur van verskeie Afrikaanse literêre tekste. Hierdie navorsingsverslag fokus op drie kritieke ontwikkelingsfases van spel: pre-Huizinga, Huizinga en post-Huizinga. Rigtinggewende antieke Griekse spelkonsepte van Heraklitus en Plato, waarop voortgebou is deur Huizinga (1949; 1951), asook die revisionistiese idees van Caillois (1961) word benut as teoretiese steierwerk vir ʼn lesing van die literêre speldiskoers in Klimtol (Van Heerden 2013); Afstande (Sleigh 2010) en Sirkusboere (Loots 2011). Die beskrywing en interpretasie van spelmerkers lei daartoe dat nie net die narratiewe struktuur ín die romans nie, maar ook die romans sélf, as vorm van kultuurskeppende spel beskou kan word. / Due to contemporary fascination with virtual games, the seminal concept of the playing person (homo ludens) − as articulated by Huizinga – has regained prominence. Nel (2014; 2015a; 2015b), Burger (2013), Viljoen (2011; 2013), Anker (2011) and Barnes (2014) observe a preoccupation with ludics in the narrative structure of various Afrikaans literary texts. This report focuses on three critical developmental stages of play: pre-Huizinga, Huizinga and post-Huizinga. Classic hypotheses by Heraclitus and Plato that manifested in Huizinga's (1949; 1950) notions on the play-element in culture as well as revisionist ideas by Caillois (1961) will be utilised as theoretical framework for an exploration of the ludic discourse in Klimtol (Van Heerden 2013), Afstande (Sleigh 2010) and Sirkusboere (Loots 2011). The description and interpretation of various play markers signify that not only the narrative structure of the novels, but the novels themselves, might be regarded as ludic play that shapes culture. / Ka ntlha ya kgatlhego ya ga jaana ya metshamekopono, mogopolo wa boitshimololedi wa motho yo o tshamekang (homo ludens) - jaaka o tlhalositswe ke Huizinga – o boetse o botlhokwa. Nel (2014; 2015a; 2015b), Burger (2013), Viljoen (2011; 2013), Anker (2011) le Barnes (2014) ba ela tlhoko metshamekwane ya popego ya puo mo dikwalong di le mmalwa tsa Afrikaans. Pegelo eno e totile dikgato di le tharo tsa botlhokwa tsa go gola ga motshameko: pele ga Huizinga, ka nako ya Huizinga le morago ga Huizinga. Tiori ya tlelasiki ya ga Heraclitus le Plato e e tlhageletseng mo megopolong ya ga Huizinga (1949; 1950) e e malebana le elemente ya motshameko mo setsong gammogo le megopolo ya poeletso ya ga Caillois (1961) di tlaa dirisiwa jaaka letlhomeso la tiori go sekaseka puisano e e ka ga motshamekwane mo Klimtol (Van Heerden 2013), Afstande (Sleigh 2010) le Sirkusboere (Loots 2011). Tlhaloso le thanolo ya batlhami ba ba farologaneng ba metshameko e bontsha gore fa se fela popego ya kanelo ya dipadi e e bopang setso, mme dipadi ka botsona di ka tsewa e le metshamekwana e e bopang setso. / Afrikaans and Theory of Literature / M.A. (Afrikaans)

This research report explores the link between the novels of Ingrid Winterbach / Lettie Viljoen, a third culture and the neo-Victorian novel. The study is therefore situated within the cultural-philosophical framework of a third culture, which implies that the two cultures of science and literature do not function as separate disciplines, but as an organic unit. Researchers in the interdiscipline of literature and science identify the Age of Science (1879–1914) – including the Victorian era (1837–1901) – as a historical period where the existence of such a third culture was observed. This period was characterised by numerous scientific discoveries, and Darwin’s theory of evolution generated heated debates in Victorian society. Nineteenth-century literature (and specifically the Victorian novel) therefore reflects the spirit of an age where the interaction between science and literature was particularly evident. In our information-driven society, the focus is once again on scientific discovery and dissemination of knowledge, prompting social critics to typify the current period as “neo-” or “retro-Victorian”. The contemporary imagination still problematises Darwin’s theory of evolution, and fiction such as Winterbach’s therefore not only renegotiates the fixed modernistic boundaries between science and literature, but also revisits the nineteenth- century genres simptomatic of a similar third culture. Winterbach’s novels (1984–2006) display a distinctive predisposition towards natural history and Darwinistic principles and are therefore postmodern adaptations of nineteenth-century conventions. Darwinistic concepts such as growth, metamorphosis,transformation, evolution and the origin, naming and extinction of species are therefore accentuated. Winterbach’s fictionalisation of a nineteenth-century worldview can be linked to the work of her ancestors in the Afrikaans literary tradition, Eugène Marais and C. Louis Leipoldt (both amateur scientists). Her popularisation of scientific knowledge and revisitation of Victorian codes also link her to a neo-Victorian novelistic movement (a contemporary permutation of the Victorian tradition). Her oeuvre therefore also displays similarities to that of her British contemporary, A.S. Byatt, a prominent neo-Victorian novelist. An exploration of the natural world in this tradition, however, also implies an exploration of supernatural spheres, a trend which is equally evident in texts by congeners such as (George) Eliot, Marais, Leipoldt, Winterbach and Byatt. / Afrikaans / D.Litt. et Phil. (Afrikaans and Theory of Literature)